Tag Archives: theatre

Big Love a big challenge at Toronto Fringe

by

0

Big Love

When you first walk into the Randolph Centre for the Performing Arts’ Annex Theatre, you are struck by a musty darkness. One deep breath and you could be forgiven for thinking you’d mistakenly walked into a derelict used-book store.

Tonight was a little different though. Although the smell was still there, the stage was not barren. Rather, it was populated by a half-naked DJ, pumping the jams in high heels and a gold lame mask, ready to celebrate Big Love. And that’s when the party started.

Big Love tells the story of 50 reluctant brides, who escape to Italy to avoid marriage to 50 cousins. As they try to talk their way into an estate, the cousins arrive to claim their women. The battle of wills–both within and between the camps–has begun.

As someone who likes a lot of story in my drama, this very much felt like a 20-minute play stretched out over 70 minutes. The other 50 minutes? Long-winded soliloquies about sex, gender and conflicting agendas for the hard-of-thinking.

50 brides for 50 cousins

50 brides for 50 cousins

There was a moment, however, when I thought the playwright (Charles L. Mee) might reach for something more than a steroidal rendition of Seven Brides for Seven Brothers. A couple times, the speeches floated to the plight of refugees and women pushed to the edge, abandoned by their families, communities and countries.

For that fleeting moment, I wondered if the mass marriage was a metaphor for a larger message about slavery and subjugation. I walked away disappointed in this regard.

That being said, the actors’ performances were generally quite good. In particular, I tip my fedora to Matt Lacas (Piero) who I felt did a wonderful job as the perpetual salesman and host, stuck between the warring camps and knowing no one could ever be happy.

I also greatly enjoyed Rosie Callaghan (Olympia) who I felt gave a scintillating performance as a young woman struggling with a personal civil war of self-identification versus the need to be loved.

The choreography feels like a work in progress, however, the many numbers feeling slightly or grossly out of step. And although the women seemed to move smoothly enough, I saw little synchrony in the men’s numbers.

And then the unexplained flinging of bodies to the ground completely baffled me. I can only hope it was a metaphor for something, but goodness knows.

What I thought the actors lacked in coordination, however, I felt they more than made up for in vocal skills. Each of the handful of songs felt like a masterpiece in harmonies, most sung acapella. For me, these were the magical moments in the performance and left me wishing the entire play had been set to music.

Had Big Love been even a third shorter, I might have enjoyed it. But I didn’t feel my dissatisfaction was for lack of effort on the parts of the performers. This fell squarely on the shoulders of the playwright and director.

Case in point was the play’s ending, which felt like a complete cop-out.

Big disappointment

Big disappointment

[Adapted from a review that originally appeared in Mooney on Theatre.]

Hamlet…A Puppet Epic! at Toronto Fringe (a review)

by

2

Zip & Shakes make Hamlet approachable for kids

Zip & Shakes make Hamlet approachable for kids

Your dad just died. Your mom married your uncle, who stole your crown. Your girlfriend went bonkers. And your best friends are trying to kill you.

You thought being an 8-year-old was tough.

Who in their right minds would try to turn Shakespeare’s Hamlet into a puppet show for kids? Shakey-Shake and Friends would, offering  Hamlet…A Puppet Epic! at Toronto FringeKids! 2015.

Before you even step into the theatre, you know that the producers understand the challenge they’ve set for themselves.

“We’re doing the whole thing (deaths and all), but in a light-hearted way,” reads a sign outside the theatre. “Everyone who dies gets a very silly ghost sheet and continue to comment on the action! (It’s not too scary.)”

And as far as I’m concerned, they deliver on their promise. From the moment the lights come up to the second they finally drop, the puppeteers put everything they have into entertaining their audience.

Whether it’s one of the characters, or the erstwhile hosts Shakes and Zip (pictured above), somebody always steps forward to help the kids understand what’s going on. And they do it without ever coming across as teacher-y, or at least, not for very long without a heavy dose of silliness hard on its heels.

What does the “to be or not to be” speech mean? Why does Hamlet’s mom not clue in to what’s going on? It’s all explained, gently and sweetly, to the kids without ever being condescending.

And nicely, the cast knows that their audience extends well beyond the 6- to 10-year-olds. Throughout the play, there are jokes for all ages and references from popular events and news items from last week, last year and last century.

This appears to be a very good decision, because about 85% of the capacity premiere crowd was well beyond puberty.

Having spent some time as a puppeteer, I didn’t think the puppetry technique was particularly solid, but I’m pretty sure I was the only one who cared. It didn’t seem to stop the wall-to-wall smiles and laughter that held the audience from start to finish.

I thought all of the performances were quite strong, but the show was absolutely stolen—if laughter volume is any indication—by Shakes/Polonius. Even in death, this character managed laughs that literally stopped the show.

Hamlet…A Puppet Epic! is easily the most entertaining hour I have spent in years.

[Review first appeared in Mooney on Theatre.]

Macbeth is the new Game of Thrones?

by

0

Who shall achieve the throne?

Who shall achieve the throne?

I hate writer Erin Whitney for little fault of her own aside from the gaping wound that she has rent into my soul with the opening lines of her Huffington Post piece announcing the release of the latest trailer for Macbeth, as performed by Michael Fassbender.

“Imagine Game of Thrones with Michael Fassbender speaking Shakespearean. Then you’ve got Macbeth.”

Her approach is entirely justified for a generation(s) that did not grow up on the works of William Shakespeare​ but instead find themselves immersed in the worlds of George RR Martin and the like.

But it is in pointing out this sad fact—sad to me, at least—that Ms. Whitney has earned my enmity. With all due respect to Mr. Martin, it is his works that should be defined in Shakespearean terms, even if only from a chronological perspective (taste is personal).

[I would also argue that a better parallel is made with either the British or American versions of House of Cards, but that is beside the point.]

Frank & Claire Underwood are Lord and Lady Macbeth

Frank & Claire Underwood are Lord and Lady Macbeth

Please do not take my condemnation and enmity personally, Ms. Whitney. It is not entirely your fault that you tripped this social and literary landmine.

If, however, I might make one recommendation: Get thee to a Shakespearean festival!

* * * * * * * * * * *

stratfordfestival

Some North American Shakespearean festivals (not a comprehensive list):

Stratford Festival (Stratford, ON)

Bard on the Beach (Vancouver, BC)

Shakespeare by the Sea (Halifax, NS)

Shakespeare in the Parking Lot (New York, NY)

Folger Shakespeare Library (Washington, DC)

Chicago Shakespeare Theatre (Chicago, IL)

Shakespeare for all time (more comprehensive list with links)

On shaky Groundlings (a review)

by

0

94629-swg

Just got back from seeing a preview of The Groundlings latest improv show entitled Slippery When Groundlings and really have only one response: Watch for the names Jill Sachoff-Matson and Alex Staggs. I don’t know when these two artists will hit it big, but I guarantee you they will.

Unlike the standard Second City shows I am used to watching, this one didn’t seem to have much of a theme beyond irritating people…but then, all sketch and improv comedy seems to be reduced to irritating people. And given the reputation of The Groundlings, I was surprised at how many sketches seemed to be one joke spread over 3 or 4 minutes. I expect that from student shows, but I expect more from main stage casts.

The first third of the show was evenly bad with the exception of a piece called “Carl’s Jr.”, where Sachoff-Matson first caught my attention as a dweeby woman who has been run down and then backed over by life.

Jill Sachoff-Matson

Jill Sachoff-Matson

The second third picked up somewhat, starting with “Church Camping Trip”, but a solid premise was completely let down by a lack of where to go with it. It’s a good sketch, it just needs more brainstorming. This was followed by Sachoff-Matson’s “Kindergarten”, which actually caused me to laugh out loud. Sachoff-Matson is mesmerizing both physically and in how her mind works, particularly as she portrayed yet another train-wreck character.

But just when I thought I had seen the best part of the show, Alex Staggs shows up with “Giving Up”, a lounge act in which he gets the audience involved with hilarious results. I would be willing to see where Staggs goes with this every night because he exudes comedic range with this.

Alex Staggs

Alex Staggs

Following the short intermission, Ariane Price gave us her send up of sad-sack informercials with “Emulsion”, another audience participation bit that was incredibly tight because of the character Price portrayed. You felt so sorry for her Eastern European refugee glam-girl wannabe that your heart melted and you wanted to give her a hug.

Ariane Price

Ariane Price

The problem was, the crew then wasted all that good will with “Sub”, a throwaway bit about an aged substitute teacher who has trouble reading fine print on an attendance sheet. That’s it. That’s the bit.

But the show was rescued by the big musical dance finale “Brittany” where again Sachoff-Matson showed what she can do with a woman completely at odds with her world and her own body.

If I have one complaint about Sachoff-Matson’s overall performance, it is that her three best pieces all largely portrayed the same character. But where this would normally kill it for me, she managed to do so in such unique ways that it wasn’t the mortal sin it might have been.

I don’t know what other sketches they have in the hopper, but there is a definite need to replace several from tonight before this show will be solid from front to back. And while good, the other cast members are going to be challenged to shine as brightly as Sachoff-Matson and Staggs.

groundlings

Ten books that influenced my life

by

2

There is a thing going around Facebook these days—electronic chain mail, really—where friends invite each other to list the 10 books that have stuck with them through life. Thanks (??) to my friend Nancy for inviting me to participate.

shakespeare1

The Complete Works of William Shakespeare

Since my first introduction to the works of the Bard in Grade 9 (Merchant of Venice) through my many pilgrimages to The Stratford Festival in Southern Ontario, I have been entranced. No matter what is going on in my life, I find solace and refuge in the pages of the Master’s folio. Favourite play: Henry V. My lone tattoo: Julius Caesar V.v.73.

His life was gentle, and the elements

So mix’d in him that Nature might stand up

And say to all the world ‘This was a man!’

dune_cover

Dune – Frank Herbert

For such a short book—and particularly within such a long series—this is a novel I return to on a regular basis. The story is woven so tightly and yet offers mythic proportions. The language is at once simple and profound…and incredibly quotable. Every time I read the story, I find a new interpretation.

I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past, I will turn the inner eye to see its path. Where the fear has gone, there will be nothing. Only I will remain.

asimov

Asimov on Chemistry – Isaac Asimov

To a budding geek, this book and the next on my list were manna from heaven. Although I was a fan of Asimov’s fiction, I found a home in his look at various subjects in science (and eventually theatre and religion). He explained the universe to me in a way that no one else could and gave me the tools to extend that learning to others (whether they wanted to hear it or not).

Broca

Broca’s Brain – Carl Sagan

While Cosmos was the book (and television series) that everyone else was talking about, this was the book that first grabbed my attention. Like Asimov, Sagan had a way of contextualizing science that few others have mastered, offering not just a series of facts, but the stories of the people behind those facts, including the dearly departed Paul Broca. Asimov and Sagan likely influenced my decision to move into science writing.

Wolf

Never Cry Wolf – Farley Mowat

If not for my abhorrence of discomfort, I would be living on the Canadian tundra today, studying and communing with the wolves. That’s how powerful this book was to me. Many criticize Mowat for fabricating many elements of his non-fiction and particularly in this story, but I don’t really care because he grabbed a young mind (mine) and transported me into the minds of the wolves he studied for the Canadian government. To see these creatures as more than just vicious wild dogs was life-changing.

purple-cow

Purple Cow – Seth Godin

Drive past enough farm fields filled with cows and eventually you cease to see them. Drive past a purple cow, however, and you stop. In short, the premise of a book of blog entries that challenges the reader to skew their view of the world with an eye to drawing the attention of your audience. Less an epiphany than a confirmation of what I already believed, Purple Cow told me there was merit in my mania.

Natural

Popular Natural History – Rev. J.G. Wood

Published in 1885 (my edition), the content of this book is not only dated (it includes a discussion of the dodo), it is often outright wrong. But it holds a special place in my heart because I received it from my great-grandmother and it initiated my fascination with antiquarian books, something that continues to this day despite my inability to financially support it. These books—particularly the non-fiction—open a portal into another time and another way of thinking, much as the rest of my book collection will in 100 years.

????????????????????????????????????????????????

The Love You Make – Peter Brown & Steven Gaines

The murder of John Lennon in 1980 took what was a passing awareness of The Beatles and turned it into an obsession for me. I had heard the music, I had seen the movies, but I was completely unaware of their context. Thus, the biography of the Fab Four, written by insider Peter Brown (…called to say, you can make it okay, you can get married in Gibraltar, near Spain), blew the lid off my ignorance, pouring kerosene on a flame that has not died in the intervening 34 years.

Elements_of_Style_cover

The Elements of Style – Strunk & White

As a writer and editorialist (I will not call myself a journalist…different craft), you might suspect that this book is close to my heart because it helped me become a better writer. And you would be DEAD WRONG. Just the opposite, in fact.

Instead, this book informed me that my new Editor had absolutely no respect for my writing nor that of my writer/editor colleagues. In our first staff meeting, she cheerfully told us she was looking to make some changes in our magazine and then gave us each a gift of this book. In my eyes, it was tantamount to handing Dostoyevsky a first-grade reading primer and suggesting he rewrite Crime & Punishment in the format of Mr. Whiskers (no self-aggrandizing hyperbole intended). I moved on.

Etymology

Chambers Dictionary of Etymology – Robert K Barnhart (Ed.)

As a word-jockey, history-buff and all-around geek, I can never be sure if my wife’s gift of an etymology book was a reward or a well-disguised pun-ishment (the hyphen should give you a clue as to why she would punish me). Regardless, the book has served me well as I endeavour to sculpt language to fit my needs, crossing words at their roots to develop new varietals that colour an otherwise mundane existence.

Much Review About Nothing

by

2

http://prettycleverfilms.com/movie-reviews/modern-times/review-much-ado-about-nothing-2013

There is a certain degree of irony in this review of Joss Whedon’s Much Ado About Nothing which is just that; the reviewer complains at length about the bare-bones nature of the production and the lack of interpretation over mere presentation (i.e., modern dress without modern sensibilities).

I seriously doubt the reviewer would have had quite the same issues with the setting simplicity if this had been a staged production rather than a filmed production, and it is important to remember that Shakespeare’s plays were written for the stage, not the screen.

As to modern interpretation and sensibilities, I largely think this is impossible without a complete rewrite of the play into another project all-together and most particularly in the case of the comedies. Take, for example, the movie 10 Things I Hate About You as a modern interpretation of The Taming of the Shrew.

The tragedies so better lend themselves to simple modern reinvention by simply changing the uniforms of the many and varied soldiery or political figures. As an example, I give you House of Cards, which to me is a retelling of Richard III with a soupcon of Othello for flavour.

And let’s face it, Much Ado About Nothing is one of the more frivolous and playful of Shakespeare’s comedies…it is play for the sake of play. It offers no deep meaning but instead centres on the silliness of love; a topic that will remain universal for all time.

Which brings me to the biggest challenge I have with this review.

The reviewer seems to assume that Whedon meant for this to be anything more than a lark…but Whedon being Whedon, a lark that he filmed with very good friends who happen to be very good actors.

I know as little as the reviewer, but I have every reason to believe the choice of modern dress was simply the reality of not having racks of Renaissance costumes lying around the house. The choice of black & white cinematography was perhaps an homage to the screwball comedies of yesteryear, of which this play is truly one and possibly the most yester of yesteryears.

As you can probably tell, I liked the movie…I had few expectations other than laughter and those were met. I also liked Kenneth Branagh’s version, which really only differed in multiple sets, colour film and period costume.

 

Cadence and Orson Welles

by

0

My favourite shot of Welles as I believe that smile and those eyes tell me everything I need to know about the man

My favourite shot of Welles as I believe that smile and those eyes tell me everything I need to know about the man

Being a good writer necessitates having a good eye and a good ear.

The good eye is the attention to details that will help you paint a word-picture of what you have seen with your physical eyes and processed in your mind’s eye. It’s not necessarily about writing long-winded passages of backgrounds or going into minute detail of a character’s physical attributes (I’ve done plenty of that), but rather in choosing the most precise and meaningful words to describe the environment or the person.

The good ear is the attention to how people communication and how they speak, not always the same thing. Again, it involves finding the right words and inflections (at least implied inflections) that give the reader and actor clues as to who this person is. And perhaps just as importantly, it is about finding just the right cadence for your character’s speech patterns.

If you listen really closely to a conversation, you’ll realize that there is little difference between speaking and singing. There is a rhythm, a cadence to speaking. Conversation is an improvised duet sung a capella. But unlike a traditional song which may have a subset of arrangements, each of us sings to our own tune, with our own rhythms and inflections. It is one of the many things that sets us apart from each other.

When writing characters, it is important to keep this in mind as all too often, a group of characters can have a certain monotone, which I use not to imply flatness so much as sameness. Often, I believe, it occurs when the writer neglects to add variety to his characters’ speech patterns and instead writes them with one voice; his or hers.

The best writers don’t make this mistake…or at least minimize its occurrences. Each character he or she presents us is truly unique, jumps off the page or screen, provides his or her own internal musical accompaniment.

One of my favourite writers of the last decade or so is Aaron Sorkin whose overall writing has its cadence but whose characters also tango (or more often tarantella) across the screen. Read the pilot to The West Wing or the screenplay for The Social Network and you will know you’re reading Sorkin.

But for me, perhaps a better example is Orson Welles, the man who would be Kane.

Recently, someone discovered a long-lost unproduced screenplay by Welles called The Way to Santiago, written in 1940-41. Another blogger discussed the find recently, and provided a link to the actual screenplay (see link below). You only have to read a couple of pages to remind yourself (or educate yourself on) how Orson Welles wrote and the energies he imbued in his characters, each one a snowflake of facets and reflections.

The opening page of The Way to Santiago

The opening page of The Way to Santiago

Now, listen to the films or read the screenplays of The Third Man, The Magnificent Ambersons, Touch of Evil. Although you may question the choice of actors, you can clearly hear or see the distinctions in the characters. Bathe in the richness and depth of each one as he or she is captured for this brief moment. This is the stuff of which dreams are made.

It is also interesting to consider that Welles got his start on stage and in radio, where the human voice plays such a larger role in conveying a story than it does in film. There is much less to occupy the mind onstage or in radio and so dialogue carries a significant burden of not only informing but also entrancing the listener.

Although the stories I write are distinctly different from the Wellesian oeuvre, there is much I can and do learn from this master of the written word. He is worth the read and the listen.

A classic image of Welles in his radio days

A classic image of Welles in his radio days

Links of interest:

The Way to Santiago at Cinephilia and Beyond

The Way to Santiago, starring Howard Hesseman on Vimeo (A valiant but not brilliant attempt)

“Thank You, Mr. Welles: Definitive actor, consummate director, and true auteur” at Curnblog.com

“Screenplays by Orson Welles” (listing) on Wikipedia

Me and Orson Welles A light but adorable movie that probably portrays Welles’ character better than Welles

Puppet Up! visits Toronto (UPDATED)

by

7

PuppetUp! logo

As some of you know who’ve watched this space, I am fixated on puppets and improv and so, several months back, I started a social media campaign to bring Puppet Up! uncensored to Toronto.

For the uninitiated, I recommend you click the link to see what this show is all about. Briefly, however, it is the Jim Henson Company taking their puppetry genius and applying it to a largely improvised comedy show designed for adults.

Well, shortly after starting my campaign, the Henson Company announced the show was coming to Toronto. While I realistically have to believe the wheels were in motion long before I started whining on Facebook and Twitter, I will happily claim responsibly for them coming.

In the weeks leading up to the show, like a 15-year-old girl at a Bieber concert, I followed everything PuppetUp! on TV and online. I tweeted with the show organizers on an almost daily basis, and then when one of the puppeteers (Grant Baciocco) made the mistake of letting the world know he was in rehearsals, the stalking began.

PuppetUp! shines into the night

PuppetUp! shines into the night

My first show was opening night (October 22) and within seconds of the lights going down, my mind was completely blown! This was everything I imagined and then some. It was everything I had in me not to run down from the balcony, up the aisle and onto the stage, grabbing a puppet as I passed the wall of hollow bodies. As one, the audience laughed, cringed, oohed and ahhed at the antics that both sent up and paid noble tribute to the late Jim Henson.

But then, dear god, I found out that you could have your picture taken with some of the puppets after the show…I am proud to say I did not swoon (on the outside).

(L-to-R) Brian Clark, Grant Baciocco and Peggy Etra surround me with puppet love

(L-to-R) Brian Clark, Grant Baciocco and Peggy Etra surround me with puppet love

Opening night was going to have to hold me for another week as 7 hours after the lights came up, I was in a cab, heading to the airport and a week-long date with the Austin Film Festival. The conference was great but I positively bounced at the idea that when I got home, I had two more shows to see…the final weekend matinees.

Sitting at the feet of the master

Sitting at the feet of the master

On Saturday (Nov 2), there I was, second row, stage left…effectively at the feet of show co-creator and host Patrick Bristow. Rather than have to squint at the puppeteers and watch the big screens, I now had close up access to the puppeteers, who became more fascinating than what was happening onscreen, to me. The show was great, although a few of the bits in the first act failed…which made them even funnier. It was in that show that I truly fell in love with the talent of puppeteer Colleen Smith. WOW!

And it was after that show that I finally got to meet Grant Baciocco, who was as charming and affable while wielding a camera as he was on Twitter.

Brian Clark and Peggy Etra welcome me back (Grant Baciocco on camera)

Brian Clark and Peggy Etra welcome me back (Grant Baciocco on camera)

My love and enthusiasm for this show was so big that I decided there and then that I had to buy tickets for the final show and I had to bring two friends along for me even though it would mean going out of pocket. I was so tickled, I had to share this with people. Texting madly to check my friends’ availability and enthusiasm, I then popped open my laptop and purchased the best available tickets for the Sunday, 8 pm show for all three of us.

Matinee ticket and 3 tix for the final performance

Matinee ticket and 3 tix for the final performance

Then came the show on Sunday (Nov 3). Again, sitting at Patrick Bristow’s feet. Shouting suggestions left, right and centre. Feeling like we were developing a bond, even though I knew he probably couldn’t see more than two feet into the audience.

Nary a flaw in this show. The musical numbers popped. The classics practically brought tears. Colleen and Grant were amazing. Brian Clark, Peggy Etra, Michael Oosterom and Ted Michaels were on fire. And I got to add Michael to my photographic portfolio of puppeteers.

(L-to-R) Was able to add Michael Oosterom to the list of puppeteers with Brian Clark and Peggy Etra (Grant Baciocco on camera)

(L-to-R) Was able to add Michael Oosterom to the list of puppeteers with Brian Clark and Peggy Etra (Grant Baciocco on camera)

To make the afternoon even more special, as I waited in line at a nearby restaurant to grab dinner between the 4pm and 8pm shows, who should walk in behind me other than Patrick Bristow. Still needing a picture with two of the puppeteers, I couldn’t die quite yet, but I was getting close. Patrick was wonderful and charming and was nice enough to pose for a photo.

Patrick Bristow and I await dinner near the theatre (no earthquake, just shaky camera)

Patrick Bristow and I await dinner near the theatre (no earthquake, just shaky camera)

So here we are. Eight pm on Sunday night. I met Leela in the foyer of the theatre and left the ticket at Will Call for my friend, Michael. If I vibrated any faster, I might have been able to pass through walls. I was going to get to share this with two really important people in my life. This was my birthday gift to me…sharing PuppetUp!

There were a couple bumpy bits in the first part of the show, but it was still amazing. And the closing half was A-FIRKIN-MAZING! Every bit went perfectly. Even from the balcony, Patrick would take my suggestions (I was in the balcony, not Patrick). Leela, who is a tough comedic audience, laughed raucously throughout the show (high praise if any of the PuppetUp! people are reading this).

Leela and Michael were both great to hang back with me…I wanted to be one of the last people to get my photo done tonight so I could let everyone know how much I appreciated their performances and talents. And beauty of beauty, the entire cast was out for photos on the last night. I was going to complete the set of puppeteers for the photo.

Finale photo with (L to R) Brian D Clark, Michael Oosterom, Ted Michaels, Colleen Smith. Buried is Peggy Etra, and Grant Baciocco is on camera duty.

Finale photo with (L to R) Brian D Clark, Michael Oosterom, Ted Michaels, Colleen Smith. Buried is Peggy Etra, and Grant Baciocco is on camera duty.

As I was waiting for my turn, Patrick passed through the lobby and asked me to hang back. Interesting.

After having my picture done and convincing my friend Michael to get his done, Patrick came out from a back room and handed me a puppet from the concession stand as thanks for all the support and enthusiasm I offered them while they were in Toronto. Nice! She (the puppet is a girl) is sitting on my desk as I type this.

The new lady in my life thanks to Patrick Bristow and the folks at PuppetUp!

The new lady in my life thanks to Patrick Bristow and the folks at PuppetUp!

I was able to shake everyone’s hand and let them know how much I enjoyed knowing them. I am currently hooking up with many of the puppeteers on Twitter and Facebook. And have promised them all that I will initiate the next social media campaign to get them to come back to Toronto.

Based on their experiences in Toronto, both in the theatre and on the town, I think they’d be open to the idea.

And now, sadly, PuppetUp! has left Toronto, but not without leaving an incredibly big mark on my heart. Thanks, folks. It was a special couple of weeks.

Cross-border puppetry – Puppet Up!

by

1

PUT_wide

As many of you well know, I am interested in puppetry and am currently working as a writer on a sketch comedy television show in development called SomeTV! that involves both human (fleshies) and puppet actors (felties). More on this later.

In the meantime, I am also striving to get an irreverent show called Puppet Up! to come to Canada (more specifically Toronto) and perform. A product of Henson Alternative, these people have taken the inside humour of the Muppet Show and ratcheted it up a thousand-fold.

I’ll let them describe the show:

What happens when Henson puppeteers are unleashed? You get a new breed of intelligent nonsense that is “Puppet Up: Uncensored” – a live, outrageous, comedy, variety show for adults only. Enjoy an unpredictable evening when six talented, hilarious, expert puppeteers will improvise songs and sketches based on your suggestions! With a motley group of characters brought to life by the world renowned puppeteers of The Jim Henson Company, this is not your average night at the improv and it is definitely not for children. But all others are welcome to enjoy the uninhibited anarchy of live puppet performance as never seen before!

PU

Strangely, it seems the show is bashful and so I am asking for everyone’s help to encourage them to come to Toronto with a social media campaign entitled: Bring Puppet Up to Toronto. (How’s that for imaginative!?)

I’ve set up a Facebook page that I ask you to “Like” and “Share” with your friends, colleagues, and that guy you met once who glommed onto your page when you weren’t looking.

As well, please visit the Puppet Up! Facebook page and let them know they should visit Toronto…even if you don’t live here.

And if you follow me on Twitter, please retweet and favourite the relevant posts…most of the other posts are completely irrelevant.

PUT tweet

As Animal is my witness, I will wear them down and they will either have to come to Toronto or file an injunction!

And even if you don’t do any of these things (I feel tears coming on), then at least enjoy these YouTube videos…they are very funny and you should get something for having read this far.

Thanks.

12 Awkward Days of Christmas – Miskreant Puppets

Puppet Up! Hit the Streets of Edinburgh

Neil Patrick Harris and Nathan Filion in Doctor’s Office – Neil’s Puppet Dreams

Where do babies come from – Puppet Up!

The Drifts – A must see at NYC Fringe

by

0

Novelist, playwright, actor Thom Vernon

Novelist, playwright, actor Thom Vernon

Earlier this evening, I watched a run-through of The Drifts, a one-man play that will take the stage at this year’s New York Fringe Festival (Aug 9 – 25). I won’t go into the details of the plot other than to say it is excerpted from the book of the same name by Thom Vernon.

As I have written elsewhere, I do not generally like one-person plays. I find them to be self-involved and often so self-referential that they provide no context for me as a viewer. The Drifts, however, does not feel like a one-person play but rather a fully cast exhibition of characters that all happen to be performed by the same actor, again Thom Vernon.

In a good way, Vernon channels his inner Sibyl to schizophrenically present a cast of at least 8 or 9 characters, including a baby cow (seriously), and he does this with such clarity that you’ll only rarely find yourself confused as to who is speaking.

With a single motion, nervous tick, posture, sound or look, Vernon assures that you will immediately know if you are looking at desperate husband Charlie or exhausted wife Julie.

The story itself comes at you like an emotional jackhammer as each of the characters struggles to find or stand up for his or her individuality. And it is this sameness of their pursuits that provides the delicious irony of the piece, proving that what truly draws us to each other is our common need to be unique.

By the end of the hour, you will find yourself as exhausted as the playwright and actor, but it will be a welcome and refreshing exhaustion that will leave you changed—and no doubt heading to the nearest bookstore to find the book.

If you are fortunate enough to be in New York during the Fringe Festival, compound that fortune by taking in The Drifts.